Photo Credit: Belinda Yee, Card 1, 2025. Ink on card, 18.7 x 8.3 cm. Image courtesy of the artist | Belinda Yee, 64kg (detail), 2025. Image courtesy of the artist. | Belinda Yee, The last before (detail), 2025. Image courtesy of the artist. | Belinda Yee, The last before (detail), 2025. Image courtesy of the artist.

Gallery 4

The weight of her

Belinda Yee

This exhibition responds to the idea of 'Digital Genocide,' a term coined by Muneera Bano, Principal Research Scientist in Ethics and AI at the CSIRO. It names a hidden violence: the systematic disappearance, distortion, and underrepresentation of cohorts of women in the data that feeds machine learning and artificial intelligence. When the systems shaping our digital futures fail to include us – when women are missing, misread, misfiled – what results is not mere oversight. It is erasure.

64kg (2025) takes its title from the global average weight of a woman. Its dimensions echo the outline of a body – standardised, abstracted, measured. The form is constructed from blank punch cards, based on a 19th-century census template. Here, they carry an impersonal, officious presence. Void of data, empty and silent, they mark an absence – a body accounted for by weight and dimension, but not by story or voice.

In contrast, The last before (2025) traces a different kind of presence. A poem punched into the wall, reflecting on a moment of intimate care – slow, tender, almost imperceptible. This work honours the kind of labour many women carry: emotional, unpaid, often invisible and routinely excluded from data-driven narratives. There is no predictive logic here – only attention, pause, and breath.

Together, these works hold tension between statistical abstraction and the fullness of lived experience; between what is recorded and what is refused. The weight of her asks how we survive being forgotten by the technologies and plan

This project has been supported by ArtsPay Foundation.